The "Mises en scene" of Lithuanian director, Eimuntas Nekrošius

ENThis is the first study in English to examine the productions and work process of Lithuanian director, Eimuntas Nekrosius, whose work is acclaimed nationally and internationally. Nekrosius is a theatre director belonging to the post World War II generation who established his career during the tenure of the Soviet Socialist Regime and who remains the most prominent metteur en scene in contemporary Lithuania. The first chapter discusses the role of the artist Nekrosius in contemporary Lithuanian society and the socio/political environment. The next chapter provides a synopsis of Lithuanian theatre from its known origins to its most recent manifestation at the second International Theatre Festival (LIFE) in Vilnius, May 1995. This narrative provides a context for Nekrosius's mises en scene which draw on the multi-ethnic influences in Lithuanian history and contemporary society. French, Italian, Polish, Russian, and Yiddish theatres and languages have made significant contributions to Lithuanian theatre history. Nekrosius's work with authors (playwrights and novelists), actors, and scenographers is investigated in separate chapters. The discussion relates to my attendance at performances and rehearsals in diverse international venues over eight years, as well as first-hand accounts by actors, designers, and scenographers. In Nekrosius's theatre the importance of the text is enhanced or framed through gesture and action. His approach to characterization is a collaboration with the actor to create non-conventional manifestations of well-known characters. e.g. Chekhov, Gogol, and Pushkin, and non-stereotypical portraits of archetypical characters, e.g., prisoners, painters, and artists.Nekrosius's productions simultaneously communicate on multiple levels; the visual, aural, and scenographic components filter through Nekrosius's "production matrix." He verifies the suitability of these elements in his perception of the play's "essence."Nekrosius's role as international representative of a National Lithuanian Theatre is analyzed in view of his perceived dismissal of indigenous Lithuanian playwrights. It is evident that, due to Nekrosius's unique vision, his work surpasses nationalistic limitations and crosses cultural boundaries. He draws on personal experiences to create referential systems for the spectator. Nekrosius's independence and disassociation with currently-fashionable theatre practice places him in the foreground of contemporary mise en scene.